Dee O'Connell captured moments of surreal dislocation as she traveled on the Trans Siberian Railway in the dead of winter. She savored her trip across seven time zones by taking &quot;lo-fi&quot; photos with her point-and-shoot camera.

My approach to photography is lo-fi and simple, so I can try to capture my instinctive reaction to the subject. Taking photographs is a natural extension of my everyday life and I always carry a camera.

I
shot this series on the Trans Siberian Railway last Christmas, using
a 35mm point-and-shoot. Back then I had a job in a travel call centre
in London. The one good thing about it was the perk of getting discounted
travel – particularly on unpopular trips like the Trans Siberian
in winter.

The journey took three weeks, starting in Beijing and ending in St. Petersburg.
We got off the train and stayed overnight in Ulaanbaatar, Irkusk and Moscow
on the way. The days were short and the sun set on a completely different
landscape than the one it rose upon. The first night on the train we fell
asleep passing factories in northern China and woke in the Gobi desert.
In Russia we went through seven time zones but all the timetables and
clocks on the train and in the stations were in Moscow time, which added
to the sense of surreal dislocation.

It felt like a disjointed dream. One day I was working in a windowless
basement wearing a telephone headset, the next I was journeying across
half the world. I was overwhelmed by the sky and the train tracks, the
freezing temperatures and the saturated colours, and feeling so transient,
disorientated and disconnected. Taking photographs intensified this sense
of being outside of the experience.

Situated between social documentary photography and street photography, the idea of this ongoing project is to build an imaginary picture of a modern city — not a specific one — but, using a title of a famous book written by Italo Calvino — an "Invisible City"

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